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fÁ frapcis lord Coppola's The Godfather and Lfj I The Godfather, Part II will be presented for two I consecutive Saturdays starting September 4 at Pi the Detroit Film Theatre in the Instituto of Arts. ■■ jm The movie diehardsamong us may wonder L-J I why this greatest of cinematic couplets was not, ' I ust for once, presented together in a single proPP gram or on a single day. Eliot Wilhelm, ■■ fm nator of the DFT, explained: "Asking an U I dience to sit for six and a half hours-seven with I an ntermission-is asking too much. The two Pfl films are so extraordinary, there's so much ■■ ■I mation to take in from each one, that after a Ê I while people's attention would begin to drift. "This way," Wilhelm went on, "we're still PPJ Pfl giving them only a week to digest it all, while HM bfl most of us had a year." Director-writer Coppola spans the years in I the tale of these movies -particularly with the PI ■I point-coUnterpoint (present tense-past tense) mm LA structure of Part II, which s the richer, more I complex Qf the films. Taken together, the two PPJ films present nothing less than great tragic ■■ mM ma- at one point in Part II, in fact, Coppola ■ ftgPJ I creates a direct allusion to Greek tragedy. The story of the Corleone family (the world's Hfl favorite mafiosi) is raised to classic status. ■■ mM sides the awesomeness of the production and LJ I the perfection reached in the acting and direcI tion in both films, Coppola's conception of Part PPJ hPj clearly defines the story of the Corleunes so ■■ Lh that it becomes an All-American epic of LJ I pot dreams and corruption. There's more than a little similarity between H Ipfl Coppola's magnum opus and the Lonnie Eider U LX play Ceremonies in Dark Old Men. Both are I about the success-incentives (not work-incenPJ tives) passed from father to son, and both detail PPJ ■■ the moral corruption and dissolution of family MH LA unity that results from the tch for success and I respectability through money and power. PB That's the central American story, and it is a WU WM tragedy. The beauty of works like Ceremonies bh Lfl and the Godfather films is in thcir ability to eI press that tragedy in a way that relates to us all. PPJ The Godfather films aren't simply the greatest ■■ ■■ gangster movies ever, they are the family movies U LA of all time. And t must be understood that in I giving us an understanding of crimináis Coppola PPJ PPJ is in no way making heros out of them. ■ Lh Al Pacino is at his best in the central role of LJ I Michael. The role of his father, Don Vito CorI leone, is split befween Marión Brando as the PJ PH er Don in the fitst film, and Robert DeNiro as ■■ La the young Don in the second. It 's one of Bi 1 I do's worst performances- but DeNiro is so mirPJ aculous that coming later, as he does through a PPJ ■■ series of luxurious flashbacks, he salvages ppV LJ do's haminess and makes somethiog special out I of the whole character. M And there's another star deserving equal rank HPfl ■■ with Coppola, DeNiro and Pacino -the ■■ LJ grapher, Gordon Willis, who provides the most Cl I stunning, artful use of color photography in Pij American movie history. . PV ■■ The achievements in these two films are BH J ordinal y ; the ül T 's close-together presenta! on B I of them amounts to a real cultural event. PPJ (Information on the Detroit Film Theater's H ■■ en tire schedule of serious film art-shown Friday ■■■ I and Saturday evenings at the Detroit Institute I of Arts auditorium- can be found by cali ing I PPJ 7900, or check the Motor City Edutoinment PP ■■■ Guide-weekly in The Sun.j U